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COPYRIGHT DEPOSED 









Art and Fundamentals 

OF 

Hairdressing 


A Text-book for Professionals 

and 

A Student’s Guide 


By 

FREDERICK KORF 


Vol. II 

BLUE BOOK SERIES OF 
HAIR and BEAUTY CULTURE 


I > 
) ) > 


> 


Published by 

WILFRED ACADEMY OF 
HAIR and BEAUTY CULTURE 

New York 







-f T 

.K S'? 


Copyright 1923 
by 

Wilfred Academy of Hair and Beauty Culture 
All Rights Reserved. 



M 4 



SEP 27’23 



CONTENTS 


Page 

Chapter 1— HAIRDRESSING AS AN ART 7 

Study of Proportions.8 

Types of Faces and Appropriate Hairdress 10 

Long Head with a High Forehead . . 11 

Short Head With a Broad Forehead . . 12 

Large Lower Face With Small Upper Head 13 

Narrow Lower Face and Broad High 


Forehead.15 


The Profile. 

• • • 

16 

Long Drooping Nose 

• • • 

16 

The Pug Nose. 

• • • 

18 

A Long Chin. 


18 

Chapter 2 — FUNDAMENTALS OF 

HAIR- 


DRESSING . 


20 

Parting or Dividing the Hair . 


20 

Tying or Binding the Hair 


24 

Making Foundations 


30 

Back-Combing the Hair 


31 

Chapter 3— HAIRDRESSING WITH 

CHIG- 


NONS, KNOTS and OTHER 

BACK- 


DRESSINGS . 


34 

The Pompadour . 


34 

The Use of Hairpins 


36 

Backdressings .... 


37 

The Figure 8. 


38 

The Psyche Knot .... 


41 

The Cable Coil .... 


42 

The Torsade. 


44 

Curls. 


46 

Loops . 


49 

Puffs or Rolls. 


50 

The Four-Strand Braid 

• • • 

53 















Chapter 4— HAIRDRESSES of CUSTOMER’S 

OWN HAIR .56 

The French Twist or Turned-In Hairdress 57 

A Quick Hairdress Without Tying or 

Foundation.59 

The Bob Effect.62 

A Smart Turned-In Hairdress ... 65 

A Pretty Evening Coiffure .... 68 

A*i Attractive Evening Coiffure With Swirl 72 

Coiffure With Cross-Parting .... 75 

Coiffure With Slanted Parting ... 79 




INTRODUCTION 


No other branch of the profession requires more art¬ 
istic skill and study than does the Art of Hairdressing. 

While perhaps certain underlying fundamental prin¬ 
ciples must be followed, yet no restraining rules should 
ever be applied, and free scope should be given to the 
expression of individual artistry. This book has been 
compiled with this thought foremost in mind, and it is 
hoped that it will act as an encouragement to those seek¬ 
ing the highest skill in this art. 

In this connection, if the chapter devoted to a trea¬ 
tise on aesthetics of lines and proportions, is thoroughly 
studied and applied, it will undoubtedly do much 
towards eliminating the bizarre and freaky styles 
of hairdress that are so frequently seen and which are 
not so much caused by the coiffure itself as by its wrong 
adaptation to the particular individual, with little or no 
attention paid to the contour and features of head and 
face. 

A goodly portion of the work is devoted to funda¬ 
mentals of hairdressing and to the making of various 
chignons and knots. This is mostly for the benefit of 
the student as is likewise the chapter dealing with coif¬ 
fures, which is confined exclusively to the use of the 
customer’s own hair. 

All of the illustrations were drawn from live models 
under the direct supervision of the authoif and un- 


5 


6 


doubtedly will be of great help in clearly demonstrating 
the text. 

It might be well to impress upon the reader the im¬ 
portance of personal, practical instruction. No doubt, 
much can be gained from a study of this book, which 
should serve as a guide and reference book, but was 
not designed to give that instruction which is only pos¬ 
sible through the direct medium of an expert teacher. 

The repeated requests for a work of this kind and the 
absence of any authoritative treatise in the English lan¬ 
guage on this subject prompted the preparation of this 
book. 

It is earnestly hoped that it will not only be found in¬ 
teresting but valuable as well, and that it will stimu¬ 
late in the beginner a desire for further knowledge and 
prove itself of real benefit to the members of the pro¬ 
fession. 

F. K. 


New York, 1923. 



CHAPTER I. 


HAIRDRESSING AS AN ART 


The arranging or dressing of ladies’ hair into becom¬ 
ing, tasteful coiffures is without a doubt an art, particu¬ 
larly when we consider the great influence which 
the hairdress has upon the appearance of the wearer. 
The shape of the head, the peculiarities and characteristics 
of the features, and the build, stature, age, etc., of the 
individual, will all have to be taken into consideration 
in producing a coiffure of artistically correct lines and 
proportions. When we further consider how the deft 
and intelligent operator seemingly changes the physiog¬ 
nomy of the face,—making a long nose or chin less pro¬ 
nounced, a long face appear shorter, a hollow and thin 
face and neck fuller, (or the opposite if that be re¬ 
quired) —we must admit that hairdressing is more than 
a merely mechanical operation, and that it truly is an 
art, concerning itself with the emphasizing of all natural 
charms and beauty and the hiding or minimizing of 
facial imperfections. 

Very often, when speaking of certain deft and skilled 
operators, we hear it said that they must be “born art¬ 
ists”. While no doubt there is some truth in this saying, 
a certain amount of artistic instinct and talent being 
essential to become a master of the art, yet perseverence 
and practice will lead to success. 

A fair degree of skill is assured to all students of 

7 


8 


HAIRDRESSING AS AN ART 


average intelligence, who will practice faithfully and 
make a diligent study of lines and proportions, based 
upon the proper fundamental instruction under com¬ 
petent teachers. Once the fundamentals are thoroughly 
acquired, the intelligent operator, beginning with a Tew 
simple coiffures, and with constant practice, will soon 
acquire the skill to modify them into a number of dif¬ 
ferent styles, or to reproduce any hairdress desired. Be¬ 
comingness of a coiffure and the ability to arrange the 
hair so that it moderates any irregularities of the features, 
are dependent principally on the ingenuity and skill of 
the operator, which it should be his or her constant 
endeavor to cultivate. 


Study of proportions. — Feminine beauty is ex¬ 
pressed, to a very large extent, by the correct proportions 
of the figure, and particularly of the head. In all arts 
dealing with the beauty of woman’s head and face, the 
ideal and perfect proportions or measurements are de¬ 
termined by dividing the face into three equal parts. 
Illustration No. 1 shows a perfectly proportioned head 
so divided. We see in this illustration that the lower 
third of the face reaches from the chin to the nose, 
the next third from the nose to the eyebrows and the 
upper third from the eyebrows to the hairline on the 
forehead. The space above this, from the hairline to 
the highest point or crown of the head should measure 
one half of one of the other divisions. The width of 
the head should measure three quarters of its entire 
height. The head itself should measure one eighth of 
the height of a fully developed person. These perfect 
proportions are not, however, found in most people. 



9 


HAIRDRESSING AS AN ART 

Often the head is too big for the body; the forehead 
too high or the lower part of the face too short or too 
long, and we also find any number of other abnormal 
developments of the face or parts of the face, which 



Illus. No. 1 


the mere arrangements of the hair cannot obliterate. 
On the other hand a knowledge of the correct proportions 
of the head and features will prove very useful in pro¬ 
ducing coiffures of the greatest becomingness and will 
be a help in minimizing certain disproportionate lines 
and features. Often a technically well executed hair- 
dress may nevertheless be very unbecoming, because this 
law of proportion has not been taken into consideration, 
and it may even serve to accentuate the already unaes- 
thetic points. i jj 

Illustrations Nos. 2 to 22 are shown for the purpose 
of demonstrating the theory of lines and proportions, as 
it applies to the most frequently met conditions. A close 











10 Types of Faces and Appropriate Hairdress 


study of these illustrations should aid in developing a 
keener sense of the beautiful, and train the eye to recog¬ 
nize at once any facial irregularities so as to be able 
to suit a large variety of different types, characteristics 
and expressions of the face. 

Anyone having this sense, has the making of an art¬ 
istic hairdresser in him or her, and those wishing for 
success in hairdressing should by close observation and 
study, try to develop it. Each hairdress that you execute 
should be a subject for study, both from the front and 
from the profile view. The hairdresser should adways 
look into the mirror while dressing the hair, as the re¬ 
flection gives a particularly fine picture of the contour 
of a hairdress, and in all cases correct lines are far more 
important than exact execution of detail. 

Types of faces and appropriate hairdress.— I shall 

attempt in the following pages to demonstrate a number 
of commonly met conditions and the hair-arrangments 
most suited to them. However, the examples given are 
principally for the purpose of supplying an impetus for 
a greater study along these channels. 

In illustration No. 1 we have a perfectly proportioned 
head and face. Almost any style of coiffure could be 
arranged upon this head to good advantage, and like¬ 
wise any changing hair fashion would look well on & 
person with a well proportioned head and pretty face. 
The difficulty in arranging fashionable coiffures arises 
when they are to be executed for a head and face of 
less perfect proportions. Then the artistic hairdresser 
must make a close study of his subject, and modify 
any prevailing style so that it best suits the particular 



Types of Faces and Appropriate Hairdress 11 


head and face. This does not mean that a new style 
of coiffure should not be adapted to a particular customer, 
but rather that no matter what the prevailing hair fash¬ 
ion may be it should be adapted only as far as possible, 
and always having in mind that becomingness of a coif¬ 
fure should be the first principle. 



Illus. No. 2 

Long head with a high forehead.—In illustration 

No. 2, a head of the long oval type is shown, with a 
















12 Types of Faces and Appropriate Hairdress 


very high forehead. The object in arranging a coiffure 
for a head of this type should be to minimize the high 
forehead and to make the entire head appear shorter 
and more evenly proportioned. Illustrations Nos. 3 and 
4 are the same head with different hair-arrangements. 
It is of course very apparent in figure No. 3, that by 
dressing the hair flat to the head, not sufficiently cover¬ 
ing the forehead, and by not giving more broadness on 
top to the hairdress, the length of the face has been 
accentuated. 

In illustration No. 4, we see a hairdress executed with 
a thought for becomingness. The hair is waved and 
dressed so as to fall more into the face, the top of the 
head is made to appear broader and better shaped and 
the hair over the ears made to puff out and fall over 
the cheeks. This undoubtedly, is much the better way 
of dressing the hair for a head of this particular shape. 


Short head with a broad forehead.— illustration 

No. 5 shows a head of just the opposite type. Instead 
of being almost egg-shaped as is the case with a well 
proportioned head, it is practically round, therefore too 
short, and presenting a fairly broad forehead. Illustra¬ 
tion No. 6 shows this type of head with a hairdress which 
has been brought over the forehead to hide its broadness, 
but in so doing the entire head takes on a still more 
squashed or short appearance. The same head, shown 
in illustration No. 7, has the hair raised to the orowti 
of the head, leaving the forehead exposed as high as 
possible in the center, while its broad appearance is les¬ 
sened by bringing the waves to fall into dips or in a 





Types of Faces and Appropriate Hairdress 13 



Illus. No, 6 


Illus. No. 7 


Illus. No. 5 


horseshoe fashion over the sides of the forehead. By 
thus exposing more of the length of the face than its 
width, it appears longer and of more pleasing proportions. 


Large lower face with small upper head.—A heavy 
lower face with a small upper head, as shown in illus¬ 
tration No. 8, can be made to appear very mannish or 
harsh unless great care is exercised in dressing the hair 
to its best advantage. Puffing the hair out on the side 













14 Types of Faces and Appropriate Hairdress 


in such a case, or exposing too much of the forehead, 
as is shown in illustration No. 9, tends to produce an 



appearance of coarseness and unrefinement. A much more 
pleasing effect is obtained in cases where a mannish ex¬ 
pression of the face must be dealt with, by dressing the 
hair well over the forehead, ears and cheeks, and encirc¬ 
ling the eyes. Illustration No. 10 shows this type of 
head with the hair dressed in this manner, giving a 
much softer and more feminine expression. 

Narrow lower face and broad high forehead - 

illustration No. 11 shows still another shape of head 
frequently encountered. The forehead is high and very 








Types of Faces and Appropriate Hairdress 15 


broad while the lower part of the face is very narrow. 
A coiffure as shown in illustration No. 12, leaving the 
broad forehead exposed, is of course very unsuitable for 
a head and face of this type. In illustration No. 13 the 
hair is shown dressed so as to fall into a large wave 



Ulus. No. 11 


over the middle of the forehead, and the entire coiffure 
is raised on the top. The side hair is left to cover the 
ears, and to bulge out a little on the sides, thus allowing 
the upper portion of the head to take on a much narrower 
appearance. 








16 Types of Faces and Appropriate Hairdress 


The profile.— We shall next concern ourselves with 
the profile or side view of the head. It is here that 
probably the greatest study is required. Prominent fea¬ 
tures are very easily accentuated in executing a hairdress, 
unless the operator looks his work over from all angles, 
but particularly from the profile. In this connection 
the nose is undoubtedly the most pronounced feature. If 
the nose is well proportioned and shaped, little attention 
is required, but should f it not be of the correct shape and 
proportion, then careful judgment must be applied when 
dressing the hair. 

Long drooping nose.—- In figure 14 we have a nose 
that is liberally long, and the point of which is somewhat 
drooping. Not infrequently this feature is found with a 



Illus. No. 14 



Types of Faces and Appropriate Hairdress 17 


receding forehead so that nose and forehead seemingly 
form a straight line. In dressing the hair in flat waves, 
over the forehead and in giving the severe line of a 
turned-in coiffure or a french twist, flat at the neck and 
projecting at the crown of the head (see illustration No. 
15), the nose becomes very much pronounced and the 
entire effect is a most unbecoming one. A less severe 
shape, consisting of a low knot at the nape of the neck 
and more fullness of the hair over the forehead, as is 
shown in illustration No. 16, is very much more suited 
to a head with a nose of this type and will show a very 
much better profile, as is very apparent by a compari¬ 
son of the two illustrations. 



Illua. No. 17 





18 Types of Faces and Appropriate Hairdress 


The pug nose.— Another nose—the so called pug 
nose—as shown in illustration No. 17, also cannot stand 
very severe treatment of a coiffure around the face. 
Fluffiness and curls on the forehead and sides, or around 
the entire face, are the requirements in this case. The 
front hair should not be dressed high, nor off the face, 
but should be brought in a soft fluffy manner to and 
over the forehead where it may form a puff. Illustra¬ 
tion No. 18 shows the hair arranged too severely for 
a nose of this type, while in illustration No. 19 we 
see the same face appear much more interesting and 
the shape of the nose has become less conspicuous. 

A long chin.— An extremely long and protruding 
chin, as seen in illustration No. 20, will appear still 
longer if the hair is dressed as is shown in illustration 
No. 21. Here the hair is too flat on the top and fore¬ 
head and by dressing the side hair backward, the line 
between the ear and chin has become unnecessarily long. 
In illustration No. 22, the side hair is combed forward 
and arranged over the cheeks, thereby shortening this 
line. By the use of a low chignon on the back of the 
head, and by arranging the front hair a little higher 
and more fluffy, the entire head becomes perfectly 
balanced and the length of the chin is not at all 
obvious. 

One may continue giving examples whereby an art¬ 
istic arrangement of the hairdress will help to enhance 
the natural beauty of the face or where imperfect shapes 
and features may be improved by this art. Every case 
differing, only consistent observation and study will lead 
to that natural aptitude and artistic sense which re¬ 
cognizes at once each individual’s requirements. It is 



Types of Faces and Appropriate Hairdress 19 


hoped that this chapter will give some encouragement 
and a desire to further the study of hairdressing along 



Illus. No. 20 


these lines, and that hairdressing will grow to receive 
that recognition as an art, to which it is rightfully en¬ 
titled. 
























CHAPTER II. 


FUNDAMENTALS OF HAIRDRESSING 


The first requirements for the beginner in hairdressing 
are, that she or he be perfectly trained in the technique 
of that part of the work, which is fundamental to 
the execution of any hairdress. Such fundamentals as 
the combing and brushing of the hair, the parting of the 
hair, the making of foundations, the tying, back-combing 
and pinning of the hair must all be learned to perfection 
before attempting to dress the hair into coiffures. The 
entire appearance of a hairdress is to a large extent 
dependent upon the correct performance of these funda¬ 
mentals. But, apart from) the appearance, the cus¬ 
tomer will frequently experience a great deal of dis¬ 
comfort caused either through looseness of the coif¬ 
fure or through the pulling of some hair, if the hair 
was wrongly tied, pinned or any other of the basic re¬ 
quirements poorly executed. 


Parting or dividing the Hair.— The beginner, 

after having combed and brushed the hair smooth and 
free from snarls, should first learn to part the hair. A 
middle parting should be the first one to be practiced. 


20 


PARTING OR DIVIDING THE HAIR 21 


The model should be seated in front of a mirror, and 
the hair combed smoothly backward, while the opera¬ 
tor, standing in back of the model, and holding the 
comb in the right hand, places it flat against the fore¬ 
head, so that the first tooth of the comb is exactly at 
the hair-line in the center of the forehead. The point 
of the nose will serve as a guide for the exact center. 
The first or the middle finger of the left hand is then 
laid against the back of the comb at its end, and both 
hands now firmly and steadily pull the comb through 
the hair to or beyond the crown of the head. (See ill¬ 
ustration No. 23). The hair is then separated, one 



half being pulled to one side with the comb and the 
other half, to the other side with the help of the left 
hand, as shown in illustration No. 24. The parting 
should run in a perfectly straight line from the fore- 

















22 PARTING OR DIVIDING THE HAIR 


head to the crown of the head. By looking into the 
mirror it should be verified whether the parting is straight, 
and this drawing of a center parting should be practiced 
until it is accomplished with ease. Right and left side 



Illus. No. 24 


partings may then be practiced in a like manner and 
thereafter the drawing of a cross-parting from ear to 
ear should be learned. The cross-parting divides the 
front hair from the back hair; the front hair being 
used for the front and side portions of the coiffure, 
while the back hair is used for the making of chignons 
or other backdressings. The amount of hair or the 
width of the front section will vary somewhat, depend¬ 
ing upon the type of hairdress to be executed. As a 
general rule, this section is about the breadth of a hand 
from the forehead to the cross-parting. 












































PARTING OR DIVIDING THE HAIR 23 


In making a cross-parting, the comb is laid flat upon 
the hair with the point of the first tooth resting either 
in the middle or side-parting which of course always 
must be made previously. The left hand holds the hair 



at the side, with the forefinger of this hand extended 
underneath the hair resting behind the ear at exactly 
the point to which the parting is to be drawn. The 
comb is then pulled through the hair in a straight line 
so that the first tooth of the comb just touches the 
tip of the extended forefinger. (See illustration No. 
25). The comb then pulls the back hair towards the 
back, while the front hair is pulled in the opposite 
direction by the left hand, this front hair having been 







24 PARTING OR DIVIDING THE HAIR 


brought into this hand by simply extending the thumb 
to rest against the forefinger, as is clearly demonstrated 
in illustration No. 26. The opposite side is divided 
in the same manner and the two side sections, after 



twisting them a little, are dropped forward, over the 
customer’s shoulders. It is a good plan for the 
beginner to conscientiously practice" this dividing of the 

hair bv a ci oss-parting, drawing it to different points, 
from ear to ear, as above explained, or just behind 
the ear, or to the sides of the neck. 

Tying or binding the hair.— The tying of the hair 

is mostly used for low or medium high hairdresses, 
while for higher hairdresses, foundations are frequently 













TYING OR BINDING THE HAIR 


25 


found more practical. The purpose of tying the hair 
is to give to the coiffure the required firmness and 
hold, and to facilitate the execution of certain styles. 
This tying is done in various ways: special hair binders, 
clasps, ribbons, etc., are used, and I believe that the 
methods of, tying the hair with any of them is so 
generally understood, that it is unnecessary to describe 
them in this treatise. 

I shall confine my description therefore only to the 
method frequently used by hairdressers, in which a small 
• and neatly divided strand of hair is utilized to tie the 
hair. The back hair which is to be tied is held in the 
left hand and in combing it from top and bottom it is 



Illus. No. 27 


worked to the desired height and position on the head, 
which may be low, medium or high, as may be required 
for the particular coiffure (see illustration No. 27). 











26 


TYING OR BINDING THE HAIR 


With each stroke of the comb the hand advances towards 
the head until it holds the entire hair, neatly and firmly, 
at the desired place near the scalp. 

A small strand of hair is next neatly divided from the 
hair so held, as is shown in illustration No. 28. This 
strand is then turned around the hair several times just 
above the hand. Care must be taken that a certain loose- 



Illus. No. 28 


ness is allowed during the first few turns of this strand 
so as not to pull. (See illustration No. 29), A hairpin 
is then inserted through the hair, just above the turns 
of the little strand, so that it protrudes on both sides. 













TYING OR BINDING THE HAIR 


27 



Illus. No. 29 


The strand is prevented from becoming loose or unrol¬ 
ling itself at this time, by holding it between the thumb 
and the forefinger of the left hand. (See illustration 
No. 30). 

The remaining length of the little strand is then 
wrapped around the protruding ends of the hair pin, as 
is clearly demonstrated in illustrations No’s. 31 and 32. 
Should the tied hair not feel firm or tight enough to 
the scalp, as is. frequently the case with beginners, it 
should then be divided below the binding and pulled 
apart, thus forcing the binding nearer to the scalp, as 
is shown in illustration No. 33. A beginner should practice 
the tying of the hair into various positions until able to 
execute this so that the hair is tied firmly and without 














28 


TYING OR BINDING THE HAIR 




Illus. No. 31 
























































TYING OR BINDING THE HAIR 


29 



causing discomfort to the head by any pulling or taut¬ 
ness of the hair. In cases of extra heavy hair, or for 
certain coiffures, the hair may be tied in two sections, 
either side by side or one above the other. (Illustra- 







30 


MAKING FOUNDATIONS 


Making Foundations. — When the tying of the hair 

is not practical, as is the case for certain coiffures, or 
when the tying of the hair is objectionable to some cus¬ 
tomers, it is necessary to find other means of giving firm¬ 
ness and hold to a hairdress. In these cases, a founda¬ 
tion made of a section of the back hair will serve as a 
basis over which the coiffure may be arranged and to 
which the hair may be pinned. In order to make the 



Illus. No. 35 Illus. No. 36 


foundation, a section of hair is neatly divided from the 
rest of the back hair, combed smooth, and rolled or 
twisted up, or braided and then pinned firmly to the 
head. The position of the foundation whether low, 
medium or high will depend on the style of the coif¬ 
fure which is to be executed, as will also the amount 
of hair taken for the foundation. Illustrations Nos. 35 
and 36 show two heads with different foundations. 






back-combing the hair 


31 


Back-combing the hair. — The public seems to fear 
the back-combing, or as it is also often called, teasing 
of the hair, perhaps with some justification, since by 
wrongly back-combing the hair it becomes matted to such 
an extent that in combing out the hair serious injuries 
to the hairshaft may result, besides presenting a very 
tedious if not painful operation. Since back-combing 
serves the purpose of giving body to the hair and of 
making it appear fuller, it is in many cases almost 
impossible to execute a fashionable coiffure without back¬ 
combing the hair somewhat. This can be accomplished 
without fear of any of the unpleasant consequences just 
mentioned if the work is done right. 

in cases of thin, short or oily hair, the fine teeth of the 
comb should be used for back-combing, while for dry and 
heavy hair the large teeth of the comb are used. The sec¬ 
tions to be back-combed should be held firmly up from the 
scalp near the ends. The comb should then be inserted 
about four to six inches from the scalp and then pushed 
toward the scalp while the hair is still held upright. This is 
repeated several times, each stroke of the comb be¬ 
ginning a trifle higher than the previous stroke, until 
the desired fullness of the hair is realized. By this process 
of back-combing, the shorter hairs are pushed forward 
and are partly separated from the longer hair thereby 
forming a cushion near the scalp and at the back of 
the strand from the root up, which serves to hold the 
hair firmly in shape when dressed. Under no circum¬ 
stances is it permissable to again back-comb over any 
hair that has been back-combed as this is certain to lead 
to a terrible tangling or matting of the hair. 




32 


BACK-COMBING THE HAIR 


The outer part of the strand so back-combed is then 
combed and brushed smooth, so that the fullness of the 



hair appears perfectly natural. Illustration No. 37 shows 
the top or front hair for a parted coiffure being back¬ 
combed, and illustration No. 38 demonstrates the work 
for a side section. 


















BACK-COMBING THE HAIR 


33 



Illus. No. 38 

























CHAPTER III. 


HAIRDRESSING WITH CHIGNONS, KNOTS AND 
OTHER BACKDRESSINGS 


The fashionable modern coiffure requires that the 
hair should first be waved in the correct manner, by 
either a marcel-wave, water-wave, or at least a round- 
curl. A customer with perfectly straight hair can hardly 
expect a very good coiffure unless she will permit her 
hair to be w&ved beforehand. However, we are some¬ 
times faced with the demand that the hair be dressed 
without waving. This happens often after shampooing 
or other treatments and since we must of course be 
in a position to rearrange the hair, it would be advisable 
to suggest that at least a few waves to the front and 
side hair be given, as this will make the work easier 
and more satisfactory all around. 

The Pompadour. —This style of putting up or dress¬ 
ing the hair should be the first to be undertaken by a 
student of the Art. It may be far from fashionable, 
yet it has survived years and many periods of chang¬ 
ing styles and is still worn as a simple house coiffure 
by a fairly large number of women. The back hair 
should be divided from the front hair by a cross-parting, 
drawn from ear to ear, and should be tied in the back 
at about the middle of the head. The front hair is then 
divided into three sections and each section is then 


34 


THE POMPADOUR 


35 




back-combed. When doing this back-combing be care¬ 
ful to hold each section straight out from the head so 
that the back-combing will reach fairly deep into the 
strands, as otherwise the hair is liable to spread or fall 
apart, while being dressed. 





Illus. No. 39 


The middle section is now taken up, combed or brushed 
smooth while resting it over the left hand, then a nicely 
rounded shape is given to it by pushing it forward onto 
the forehead, and it is then fastened by a hairpin, near 
the binding of the back hair. (See illustration No. 39). 
The sides are then taken up, combed and brushed smooth 









36 


THE POMPADOUR 



Illus. No. 40 


over the hand and pinned at the same place. Care should 
be taken that the sides neatly join with the tied back 
hair. (Illustration No. 40). The ends of the front 
and side hair are combed together with the tied back hair 
and worked with this into the chignon or backdressing. 


The use of hairpins. —The proper use of hairpins is 
an important factor in the dressing of the hair. Each 
hairpin used must perform its function in holding the 
hair at the desired place with the greatest efficiency. 
It must feel secure and hold the hair firmly, yet without 
producing any pressure or other discomfort on the scalp. 
When inserting the hairpin it should be held between 
the thumb and maddlefinger and guided by means of 
the first 'finger. A hairpin will have little hold if in¬ 
serted straight into the hair. In order to have it serve 
its purpose efficiently it should be guided in and out 




THE USE OF HAIRPINS 


37 



Illns. No. 41 


through the hair a few times and a half turn given to 
it It is further essential that all hairpins be so placed 
that it is impossible for them to drop out. This can be 
guarded against by inserting them as much as possible 
from the top downward. (Illustration No. 41). It is 
perhaps needless to say that all hairpins should be well 
hidden among the hair, as otherwise the appearance of 
the entire hairdress becomes marred. 


Backdressings. —We shall next take up the question 
of arranging the back hair into various chignons, knots 







38 


THE FIGURE 8 


etc., since these in one form or another, form a part 
of practically all hairdresses. One of the simplest forms 
of backdressing, without doubt, is the three-strand braid. 
How this braid is made and pinned in various positions 
on the head, is so commonly known that I will refrain 
from entering into any further description of it. 


The Figure 8.—A popular and simple dressing for 
the back hair is known as the figure 8, which may be 
placed low, medium or high, upright or crosswise at 
the back of the head, as would be most becoming or 
suitable to the hairdress. 



Illus. No. 42 


It is executed by first turning the hair to the right, 
between the two hands, into a fairly tight twist, which 









THE FIGURE 8 


39 


is then prevented from unrolling itself by holding it 
near the end between the fingers of the right hand. 
The twisted strand is then held close to the binding 
with the first finger and thumb of the left hand, while 
at the same time the right hand lifts the strand upward. 
The left hand then makes a turn to the left, thereby 
forming the lower circle of the figure 8, as shown in 
illustration No. 42. 



The twist above this circle is then taken hold of with 
the left hand, the back of the hand being turned toward 
you, as shown in illustration No. 43. Again by a turn 
of the hand to the left the upper half of the figure 8 
is formed and the ends of the strand are then hidden 
by rolling them around and underneath the figure formed, 
as can be seen by a study of illustration No. 44. 

The chignon is then nicely placed into the position 
wanted and firmly pinned down, and the twists pulled 
and spread out so as to appear softer and more shapely. 

The illustrations were purposely made a little more 
stiff than it would appear in reality, in order to more 




40 


THE FIGURE 8 



clearly show the method of making this chignon. 

Illustration No. 45, shows a pompadour hairdress com¬ 
pleted, with the figure 8, softly arranged as backdressing. 



Ulus. No. 45 








THE PSYCHE KNOT 


41 


The Psyche Knot. —This knot is made by also twist¬ 
ing the back hair fairly tightly to the right. The twist 
is then brought up and turned over the left hand, so 



lllus. No. 46 



Illus. No. 47 






42 


THE CABLE COIL 


as to form an upstanding loop as shown in illustration 
No. 46. This loop is securely fastened in this position 
and the rest of the twist loosely turned around this 
loop. The ends are next hidden beneath it, and the 
entire knot is then pinned and held firmly in position. 
1'he completed Psyche knot is shown as a backdressing 
of a Pompadour coiffure in illustration No. 47. Of 
course the twists have been pulled and spread out, so 
as to appear softer. 


The Cable Coil.—By means of the Cable Coil a 
variety of interesting chignons can be produced. The 
entire back hair may be made into one single coil or 



it may be divided into two or more strands, each one 
being twisted and arranged separately. A thin head of 
hair can by this means be made to give the appearance 
of a very liberal growth. The method of making the 
coil is as follows;—The top part of the strand in its 
entire length is back-combed, then the under part is 
combed and brushed smooth. Next with the left hand 





THE CABLE COIL 


43 



Illus. No. 49 


take hold of the strand near the binding so that the 
tips of the four 'fingers close tightly upon the back-combed 
hair. The right hand then rolls the hair over the 
four fingers and around itself, as is demonstrated in 



Illus. No. 50 




44 


THE TORSADE 


illustration No. 48. All back-combing will in this 
manner be on the inside of the coil, giving full¬ 
ness and firmness to it. After having rolled up the 
entire strand in this manner, it is lifted up with the 
right hand and can now easily be arranged into a num¬ 
ber of turns and twists and placed where most desired 
with the help of the left hand. Illustration No. 49, 
shows a chignon being formed of a Cable Coil, and in 
illustration No. 50 we see a backdressing of this type 
completed. Such a lar^e number of variations and 
pretty effects can be obtained by means of this coil, 
that students in the art of hairdressing will find it to 
their benefit to try for themselves to produce some 
original ideas and designs. 

The Torsade.—Another simple but pleasing back- 
dressing is the torsade and it will be found suitable for a 
number of coiffures if it is well placed and arranged. 



Illus. No. 51 





THE TORSADE 


45 


The tied back hair should be divided into two strands 
of even thickness (illustration No. 51). 

The two strands are then twisted around one another 
as shown in illustration No. 52. The ends of the so 




Illus. No. 53 


twisted hair or torsade should then be tied into a knot 
and the two ends curled into hanging curls. (See 
illustration No. 53). The complete chignon as shown in 
' illustration No. 54 is made by folding the torsade one 




46 


THE TORSADE 



Illus. No. 54 


half back so that the two halfs lay next to one another, 
thereby bringing the two curls on top. It is pinned 
in this position and shaped by pulling it into graceful 
curves, the two curls also being prettily arranged. 

Curls.— Chignons made entirely of curls have at 
certain periods been quite popular, depending of course 
upon the prevailing fashion. Even when an entire back- 
dressing of curls was not the fashion, curls have al¬ 
ways been used to a greater or lesser extent to embel¬ 
lish a large number of coiffures. They may be made 
in various sizes, closed and resembling puffs, or soft, 
fluffy, open, or hanging curls. The open curls are the 
ones most desired. To make and arrange real soft look¬ 
ing curls from a customer’s own hair requires quite 
some skill, particularly if the hair should be long and 
heavy. The curls in all cases will look better if the 






CURLS 


47 


hair is previously rolled over the hot marcel iron. Small 
strands of hair should be separated, and each strand 
back-combed on the top. After combing the under part 
of the strands smooth, they are then rolled up, either 
over the fingers or by use of a tail comb as is shown in 



Illus. No. 56 


illustrations No’s. 55 and 56. They are then pinned to 
the head, in a not too regular manner, by inserting the 



Illus. No. 55 




48 


CURLS 



Illus. No. 57 


hairpins into the opening of the curls and working them 
in and out through the hair to which they are to be 
pinned, (see illustration No. 57). To give a nice soft 
appearance, the curl is then separated by pulling it out 
of itself somewhat so that at one side the open end 



Illus. No. 58 





LOOPS 


49 


appears raised. The method of doing this, and a curl 
of this type is shown in illustration No. 58. It is 
not necessary in forming a chignon of curls that each 
curl be exactly of the same size as the other, nor should 
their position in any way be a forced one. On the 
contrary, they should present a loose, free, and natural 
appearance, the entire effect being judged more by a 
graceful contour of the head, then by too close attention 
to the details of each curl. 

Loops.— A variety of pleasing chignons are made 
from two or more strands of the back hair, each strand 
being first twisted to the right, and then placed in the 
form of loops against the head where they are pinned. 
Quite pretty effects can be obtained by an artistic opera¬ 
tor with this simple method. If the hair is long enough, 



Ulus. No. 59 




50 


LOOPS 


two or more loops may be made of each strand and the 
ends of these strands may either be hidden beneath 
the loops or dressed into curls. (Illustration No. 59 
shows how these loops are placed). After the loops 
have been firmly fastened by hairpins, the extending ends 



IIlus. No. 60 


are dressed into curls and then these are so arranged 
as to hide the binding of the back hair. Illustration 
No. 60 shows a chignon of this type completed and while 
quite simple it is nevertheless very attractive. 

Puffs or Rolls.—A puff is in reality a closed curl 
and a roll is nothing more than a large puff. They are 
used a great deal in hairdressing and very becoming ef- 




PUFFS OR ROLLS 


51 



Illus. No. 61 


fects can be obtained by their use. A nice chignon can 
be made of one, two or three such puffs or rolls. 
When arranging a chignon of three puffs or rolls, the 
back hair is divided into three strands of equal thickness; 















52 


PUFFS OR ROLLS 


each strand is then back-combed on top and rolled up 
as shown in illustration No. 61. In rolling up a puff, 
the ends of the strand are turned around the first finger 
of the left hand and held with the thumb. The firfct 
finger of the right hand is now placed a distance for¬ 
ward upon the strand, this distance depending on the 
size of the puff or roll wanted. 



This space between the two fingers must be kept 
evenly during the process of rolling up the strand. 
Each puff is rolled up to its proper position and here 
fastened by means of two hairpins, which should be 
inserted into the two openings of the roll and pinned 
through the underneath hair so as to hold the roll firmly 
to the head. The roll is then spread apart, as is shown 





THE FOUR-STRAND BRAID 


53 


in illustration No. 62, so that the open ends come to lay 
against the head. In illustration No. 63 we see a back- 
dressing of this type completed. Equally good effects 
can be produced by the use of one or two rolls instead 
of three. 

The Four-Strand Braid.—A quick backdressing, par¬ 
ticularly on very heavy hair, can be made by work¬ 
ing the back hair into a four-strand braid. The hair 
may either be tied or it may be braided without first 
tying it. The back-hair should be divided into four 
strands of equal thickness. If the hair is thin, each 



Illus. No. 64 





54 


THE FOUR-STRAND BRAID 


strand may be back-combed, and this back-combing there¬ 
after hidden in the inside of the strand, by brushing the 
outer hair smooth. 



Illus. No. 65 


To make a four-strand braid, imagine the four strands 
numbered from one to four beginning at the left. (See 
illustration No. 64). Strands 1, 2 and 3 are then laid 
across one another in the same manner as for a three- 
strand braid. Strand 4 is then placed under 2 and over 
1. 2 will then be the right outside strand. 1, 3 and 4 
are then laid into a three-strand braid and 2 is then 
placed under 1 and over 3, this leaving strand 1 at the 
right outside. The same process of braiding is then 
carried on to the end. In illustration No. 64 the strands 





THE FOUR-STRAND BRAID 


55 


are numbered for the purpose of clearly showing how 
this braid is made. 

The braid is then spread out so as to give it a nice 
fullness, and brought upward, the ends being turned 
under and 'firmly pinned on top. It is then shaped as 
desired and securely fastened to the head by pinning 
it from all sides with hairpins. We see in illustration 
No. 65 a coiffure in which the four-strand braid was 
utilized as a backdressing. This braid was made with¬ 
out previously tying the hair. 



CHAPTER IV. 


HAIRDRESSES OF CUSTOMER’S OWN HAIR 


This chapter, which concerns itself with the execu¬ 
tion of various hairdresses of the customer’s own hair, 
is prepared for the main purpose of demonstrating to 
the student a number of present day styles on which 
to practice the principles explained in the previous chap¬ 
ters. The hairdresses shown, if their execution is prop¬ 
erly learned, will form a solid foundation and be the 
first milestone on the road to becoming a first class 
hairdresser. The goal however, is only realized after 
learning to dress the hair by the use of transformations 
and other additional hairpieces, as well as to execute 
Historical and Fancy Hairdresses, subjects which will be 
treated in a separate volume. It is further absolutely 
essential that the progressive hardresser learn both the 
Art of Marcel and Water Waving, since a proper wav¬ 
ing of the hair is part of practically all modern coiffures. 
Nevertheless, the styles shown may be practiced to great 
advantage after round-curling the hair previously; the 
effects produced, of course, will differ quite a little 
from those shown. The different thicknesses and the 
formation in which the hair grows around the forehead 
and sides, also have their influences on a hairdress, and 
must be taken into consideration when dressing the hair. 


56 


French Twist or Turned-In Hairdress 57 


Personal taste and practice—practice and still more prac¬ 
tice, with a great deal of patience, are the requirements 
for all wishing to make an outstanding success in this 
art. 

The French Twist or Turned-In Hairdress.— After 

having the hair thoroughly waved in a pompadour or 
straight back style, it is parted a little toward one side, 
a section divided at the crown of the head and this 
section then pinned up as a high foundation. (Illustra- 



Illua. No. 66 


tion No. 66). The smaller side of the hair is then 
back-combed and dressed up over the foundation, by rol¬ 
ling or twisting it tightly. The ends are placed under¬ 
neath the rolled up hair, which is now pinned firmly 
to the previously made foundation. 




58 French Twist or Turned-In Hairdress 


After back-combing the larger side, it is dressed up 
in the same way as the other side, again twisting the 
hair tightly under, in the manner as shown in illustra¬ 
tion No. 67. The ends are tucked beneath the hair so 



Illus. No. 67 

rolled up, and the whole securely pinned down, so that 
the two sections are lying against one another, forming 
a groove, into which a flat comb may be placed to 
finish the hairdress. The front hair of the larger side 
should, when rolling the hair up, be brought into a dip 
on the forehead with the assistance of the left hand. 
The completed coiffure is shown in Illustration No. 68. 
The comb is omitted in order to better show how the two 





French Twist or Turnep-In Hairdress 59 



Illua. No. 68 


sections of the hair meet at the middle of the head. 
Sometimes it is preferred that this dividing' line be 
brought to one side, in which case the larger section of 
the hair should overlap the smaller. 


A Quick Hairdress Without Tying or Foundation.—* 

The hair should be waved all around the head either 
for a parting, straight back or horseshoe style. The 
center section of the front hair from temple to temple, 
is then divided off, to about the crown of the head. 
Each side is then dressed backward by twisting it just 
behind the ear, and pinned low at the back of the head. 
(Illustration No. 69). The front section of the 





60 Hairdress Without Tying or Foundation 


hair is next dressed and is pinned together with the 
side hair, as is shown in illustration No. 70. The loose¬ 
hanging back hair is now drawn over to one side, where 
it is held low at the back with the fingers of the left 



Illus. No. 69 Illus. No. 70 


hand, while the remaining lengths of the hair are firmly 
twisted to the right and formed into a loop, the ends of 
which are hidden by tucking them underneath the 
hair drawn to one side. (Illustration No. 71). This 
lower part of the hair is then securely pinned and 












































Hairdress Without Tying or Foundation 61 



thereafter the twisted loop is spread so as to form a 
puff or roll. (See illustration No. 72). The whole 



Ulus. No. 72 





62 Hairdress Without Tying or Foundation 



Illus. No. 73 


should now be firmly fastened by means of hairpins, 
thus completing this simple hairdress, which is shown 
in illustration No. 73. 

The bob effect.— The hair is parted low on one side 
and is marcelled to fall into soft dips over the fore¬ 
head. After dividing the front hair by a cross-parting, 
the back hair is tied low at the neck. 

The small side is now well back-combed underneath, 
and rolled under by twisting the hair with the left 
hand around the extended forefinger of the right hand. 





THE BOB EFFECT 


63 




IIIub. No. 75 











64 


THE BOB EFFECT 


The 'fingers of the right hand also help to hold the hair 
onto the cheek and make it form the desired puff. (See 
illustration No. 74). The short ends may be tucked 
under this puff, or, if long, they may be taken together 
with the tied hair. The section is now pinned firmly 
near the binding, at the back of the head. The re¬ 
maining front hair is then parted at the same height, 
and this section dressed in the same manner, taking 
good care that both sides are of even height and fullness. 



Illus. No. 76 


The front section of the hair is next dressed over 
the forehead, and spread at the back, so as to fall over 
the tied hair. It is then pinned low with the other hair, 
the ends being either tucked underneath, or taken to¬ 
gether with the tied hair to be dressed into the roll. 



SMART TURNED-IN HAIRDRESS 


65 


The back hair is back-combed on top and rolled up, 
as is shown in illustration No. 75, to a height even with 
the puffed out hair on the sides. The roll is then firmly- 
pinned on the inside from both sides and spread out 
by pulling it apart, so that it will neatly join with the 
side hair, thus giving a coiffure of the bobbed effect 
as is shown in illustration No. 76. 

A smart turned-in hairdress.— The hair for this 
coiffure is waved in a horseshoe fashion as shown in 
illustration No. 77. However, it may be dressed in the 
same manner if waved into a dip on the forehead, or 



Illus. No. 77 


if waved straight back. The side hair should be waved 
to fall over the ears and cheeks. The entire back hair, 
from the crown of the head to the nape of the neck, 




66 


SMART TURNED-IN HAIRDRESS 



Illus. No. 78 



IIlus. No. 79 






SMART TURNED-IN HAIRDRESS 


67 


should be separated, firmly combed up, and pinned into 
a foundation high on the head, as is shown in illustra¬ 
tion No. 78. The remaining hair is divided into three 
sections. The side sections are back-combed and dressed 
fairly flat to the head, the ends of the hair being tucked 
underneath. One side should over-lap the other in the 
back in a neat manner. After back-combing the front 


Illus. No. 80 


hair, it is then dressed over the foundation, in a nice 
shape, the ends being again tucked underneath. (See 
illustration No. 79). This section is pinned below the 
foundation so as to join neatly with the hair from 
the sides. A comb or pin inserted low, finishes the hair- 
dress as is shown in illustration No. 80. The hairdress 
may be higher or lower on the crown as desired. 







68 


EVENING COIFFURE 


A pretty evening coiffure. — Draw a low, right side 

parting and wave the hair in the manner as shown in 
illustration No. 81. The back hair is then divided by a 
cross-parting to a point just behind the ears, and tied 
at about the middle of the back of the head, as can 
also be clearly seen by a study of illustration No. 81. 



Illus. No. 81 


The front hair, which is divided into three sections, 
two side sections, and one front section, is now dressed. 
The side sections, after being back-combed underneath, 
are brought up and pinned just above the binding of the 
back hair. (See illustration No. 82). The front section 
is next back-combed underneath, and dressed so as to 
stand up quite high on top of the head, the ends of 
the hair from this section being tucked underneath. (See 
illustration No. 83). At the crown, the waves should 
match perfectly. 




EVENING COIFFURE 


69 




Ulus. No. 83 


















70 


EVENING COIFFURE 


The tied back hair is then dressed into a low knot, as 
is shown in illustration No. 84. This very pretty knot 
is made in the following manner-Twist the hair firmly 
to the right, then turn this twist over the extended fore 



Illus. No. 84 Illus. No. 85 Illus. No. 86 

and middle Ungers of the left hand. (See illustration 
No. 85). The end of the strand is then placed between 
the two fingers, and pulled through the loop previously 
formed. (Illustration No. 86). The knot is then turned 
around, so that the underside comes to lay on top and 
it is then spread and pinned firmly to the head. The 
ends of this knot should be dressed into a few soft hang¬ 
ing curls by use of the hot marcel iron. Illustration 
No. 87 shows the finished coiffure with this knot ar¬ 
ranged low, and the curls falling softly on the neck. 










EVENING COIFFURE 


71 



IUus. No. 88 









72 EVENING COIFFURE WITH SWIRL 


An attractive evening coiffure with swirl.—A short 
left side parting is drawn and the hair waved so as to fall 
softly over the forehead and the sides. The back hair 
is divided by a cross-parting down to well behind the 
ears. This back hair is then again divided into two 
sections, a lower and an upper one, each of which are 
then tied as is shown in illustration No. 88. 



The two side sections, after they have been back¬ 
combed, are then dressed over the ears, brought flat 
against the back of the head and pinned below the bind¬ 
ing of the lower section of the back hair. The ends of 
the side hair should be tucked under. The front section 
is next back-combed and dressed with the ends of this 
hair being hidden by folding it underneath. It is then 
tinned near the binding of the upper section of the 
back hair. (See illustration No. 89). 
















EVENING COIFFURE WITH SWIRL 73 


The tied lower strand is then draped in a swirl around 
the head, covering the parting somewhat and lying 
smooth and Hat like a ribbon against the forehead, just 
above the eyebrows. (See illustration No. 90). If the 
hair is long it is taken in one single strand around the 
head and pinned 'firmly at the back; if short, the hair 
should be divided into two strands, one being brought 
around to the right, and the other to the left, crossing 
over one another at the front. In such a case the ends 
of the strands are hidden by pinning them underneath 



upper tied strand of the hair should now be curled by 
use of the marcel iron, as it is to be dressed into a roll 
and curls. Little strands are then divided and dressed 
into curls, which should be placed high on the left 
side of the head as is shown in illustration No. 91. 









74 EVENING COIFFURE WITH SWIRL 



Illus. No. 91 



Jllus. No. 92 









EVENING COIFFURE WITH SWIRL 75 


The remaining hair of this strand is then back-combed 
and brought up in a large roll, which is fastened high 
on the crown of the head. A large fancy comb is now 
placed against this roll as shown in illustration No. 92, 
which pictures the left side of the completed coiffure. 



Ulus. No. 93 


I 

Illustration No. 93 shows the same coiffure from the 
right side. It will be noticed that this side effect differs 
from the left side. The little curls on the sides and 
over the forehead may be made of the customer’s own 
short hair, by curling it, or pincurls may be used to 
give a softening effect to the face. 

Coiffure with cross-parting. — In this coiffure a short 
parting is drawn at the right side and the hair is waved 
to fall over the face. A cross-parting divides a section 




76 COIFFURE WITH CROSS-PARTING 


of the hair which is waved backward, as is clearly shown 
in illustration No. 94. 


The back hair is divided from the front hair by part¬ 
ing it off to the nape of the neck. It is then pinned 
up into a foundation on top of the head and the remain¬ 
ing hair is then divided into four sections as shown in 



The side sections are now dressed to fall well over 
the cheeks, the ends being tucked under at the back 
and here neatly pinned. (See illustration No. 96.) The 
front section is then dressed flat across the front of 
the head, folded under and firmly pinned, as shown 
in illustration No. 97. The parting across the head 
should be allowed to show plainly, and should not be 
covered up. The section of the hair which was waved 





COIFFURE WITH CROSS-PARTING 77 



Ulus. No. 96 



Illus. No. 97 







78 COIFFURE WITH CROSS-PARTING 




Illus. No. 98 

backward is now dressed back, over the foundation, after 
having first been well back-combed. It is then pinned 
and spread so as to join nicely with the side hair, the 


Illus. No. 99 



COIFFURE WITH SLANTED PARTING 79 


ends being folded under as shown in illustration No. 
98. In illustration No. 99 we see the completed hair- 
dress, the back of which is finished off with a large or¬ 
namental comb. Note the clearly defined cross-parting. 

Coiffure with slanted parting. —The front hair is 
parted on the bias, the parting running from the middle 
of the forehead to about the temple, thereby separating 
a small section of the hair from the rest. This section 
is then waved separately, and the ends curled. The 
top hair is waved on a bias, so that the waves go almost 
backward, yet falling in a dip onto the forehead. The 
sides are marcelled to fall over the cheeks. (See 
illustration No. 100). 



Illus. No. 100 









80 COIFFURE WITH SLANTED PARTING 



Ulus. No. 101 


In the same illustration we see how the back hair 
has been previously tied high on the crown of the head 
and how the side sections are dressed by folding the 



Illus. No. 102 





COIFFURE WITH SLANTED PARTING 81 


hair under. After both sides have thus been securely 
pinned to the back of the head, the front hair is combed 
backward on the bias, the dip being pulled forward 



IIlus. No. 103 


over the forehead, the ends tucked underneath and the 
section is then pinned to about the binding place of 
the back hair. (Illustration No. 101). 

The small section which was separated by the slanted 
parting is then arranged so that a dip falls onto the 
forehead, and so that the waves join with the other 
waves of the hair. The ends of this section, which were 
previously dressed into a flat curl, are then pinned at 
the temple into the wave of the side section as is shown 
in illustration No. 102. 



* 


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Neutralizing agent: Magnesium Oxide 
Treatment Date: June2012 

PreservationTechnologies 

A WORLD LEADER IN COLLECTIONS PRESERVATION 

111 Thomson Park Drive 
Cranberry Township, PA 16066 
(724)779-2111 





The following volumes of BLUE BOOK SERIES OF HAIR 
AND BEAUTY CULTURE are now completed and may be 
obtained from the publishers at the price of $3.00 a copy. 

Vol. 1—Artistic Haircutting and Related Branches. 

By Frederick Korf. 

Covering all styles of women’s and children’s hair cutting, 
bobbing, etc., and also chapters devoted to clipping, singeing, 
thinning and French clipping. 

Cloth Bound. Fully Illustrated. 

Vol. II—Art and Fundamentals of Hairdressing. 

By Frederick Korf. 

A professional’s and student’s hand book covering hairdress¬ 
ing from the fundamental stages to elaborate coiffures. 

Cloth Bound. Over One Hundred Illustrations. 


Vol. Ill—The Technique and Art of Marcel Waving. 

By William F. Zentler. 

A complete, original text book on this important branch of 
.the hairdressing profession. 

Cloth Bound. 

Every Movement Clearly Demonstrated by Numerous Illustrations. 

Vol. IV—Water Waving. IBy Evelyn Frederick. 

An expert’s treatise on the art of water waving on the head. 
Cloth Bound. Profusely Illustrated. 


Other books of this series now in preparation, written by well- 
known authorities, cover the following: 


Anatomy and Physiology for Hair 
and Beauty Culturists. 

Face Massageing and Facial Treat¬ 
ments. 

Permanent Hair Waving. 
Manicuring. 


Diseases of the Hair and Scalp. 
Care of the Hair and Scalp. 

Hair Coloring and Bleaching. 


Professional Salesmanship. 

And many others. 


WILFRED ACADEMY OF HAIR AND BEAUTY CULTURE 

(Publishe rs) 

753 to 759 Seventh Avenue 
NEW YORK 




Deacidified using the Bookkeeper process. 
Neutralizing agent: Magnesium Oxide 
Treatment Date: June 2012 

PreservationTechnologies 

A WORLD LEADER IN COLLECTIONS PRESERVATION 

111 Thomson Park Drive 
Cranberry Township, PA 16066 
(724) 779-2111 





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